Word: depardieu
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Dates: during 1980-1989
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Revolutionaries fall into two main types: the romantic and the quasi-religious zealot. Danton, as envisioned by Wajda and Writer Jean-Claude Carrière (Buñuel's sometime collaborator) and brilliantly portrayed by Gérard Depardieu, is the former. Lazy, sensual and, above all, egocentric, he believes that he need do nothing but raise his famed orator's voice in order to bring the people to the counterrevolutionary barricades. Convinced of his own star qualities, he neglects to look back to see if anyone is actually following him or, despite warnings, to take practical steps...
...begins with the marriage of a painfully adolescent couple. Bertrande and Martin, but Martin's immaturity ensures that their honeymoon is short-lived. Soon, Martin mysteriously disappears only to return, nine years later, as unexpectedly as he had vanished. Back from the wars, a bigger and stronger Martin (Gerald Depardieu) receives an enthusiastic homecoming from his family--especially his wife (Nathalie Baye) who has waited faithfully for his return. Gradually some villagers begin to wonder whether this new, improved Martin is really Martin at all. Which, by the way, isn't giving away the plot, since the bulk...
...star, Gerard Depardieu, had lambasted the film even before it played the festival: "The moon is in the gutter, but the movie is in the sewer." At the most vituperative Cannes press conference in memory, Beineix, flanked by his female leads Nastassia Kinski and Victoria Abril, gave as good as he got. "They are called moving pictures, not text," he argued. "My film is a symphony of images...
...Next Door. "Yes, that's the way these things often go," one says, thinking back over the film in those mulling moments so kindly provided by traffic jams and checkout-counter lines. Indeed, one rather imagines it was blank moments like those that kept Bernard (Gérard Depardieu) and Mathilde (Fanny Ardant, a particularly lovely newcomer) alive in each other's minds between the bitter breakup of their tumultuous romance and their next meeting, seven years later. This occurs when Mathilde and her new husband happen to move in next door to the house Bernard occupies serenely...
...against this background, Truffaut does no more than create a melodrama himself. Essentially, the film follows characters one ostensibly knows about--the resistance fighters, the underground populace--but Truffaut refuses to examine their motivation. Despite remarkable performances by Catherine Deneuve as Mrs. Steiner, and Gerald Depardieu as the leading man turned resistance fighter, Truffaut refuses to follow any one character beyond the confines of their theater. And in the end, when Truffaut resorts to a cliched surprise ending, he undoes any unnerving elements that have gone before. The film is forever on the verge of going deeper, of pulling something...